New york compression

Upward compression works in much the same way, but avoids disproportionally raising the noise floor, thanks to how a downward compressors threshold acts on the signal when in a parallel configuration. Parallel compression is still downward compression, just a slightly more sophisticated way of doing it! IV Vintage Drum Machines. Tech Drums Lite Pack. Ableton Bible Free Sound Library. Tech Drums Full Pack. Extremely low thresholds will elongate the decay times of drums and can over accentuate parts such as low-level atmospherics, noise and reverb tails.

Adding an EQ before or after the compressor can help to target a particular area to compress. The most common use for NY compression is to use an EQ after the compressor to create the psychoacoustic illusion of a louder drum bus. This is done by adding a few dBs of gain using shelving filters at Hz and 10KHz. Peak filters may also be used to pinpoint exact frequency bands to be accentuated.

A parallel compression configuration being used NYC style with an upside down smiley face style Eq curve to give the impression of a louder, clearer part. Haven't received registration validation E-mail?

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Unread PMs. Forum Themes Mobile Progressive. Essentials Only Full Version. They tend to say something like "compress the snot out of the cloned vocal track". Can someone be a bit more specific? Like maybe offer some settings for or a suitable preset choice that came with the Ultrafunk Sonitus:FX compressor that came with Sonar 3.

I've also seen suggestions to get a decent compressor for your FX bin. Does this Sonitus:FX compressor qualify as decent? If not, what is better? Max Output Level: Clone the track you wish to apply the technique to. Add the Sonitus Compressor to the FX bin of the cloned track 3. Use the "Drum Destroyer" preset 4. Cut the volume of the cloned, compressed track till it's barely audible.

Just did this with a stereo drum track Worked great! Well, I tried the suggested approach, using the Drum Destroyer on a cloned vocal track and then mixing it in with the existing track. I'm not so sure that it really sounds "fuller", it just seems to get louder as I mix more of the squashed track in. Is that about the size of it? Kind of like I could have just turned up the vocal track in the first place. Maybe my vocal track just sucks bad enough that making it "fuller" this way isn't really so effective I'm not all that great of a vocalist.

Would it help to delay the compressed track a few ms, or maybe add a little chorus to the track as I'm mixing it back in? But then I guess thats not all that much different from just using chorus or delay on the original track in the first place.

Do you not need to compress both vocal tracks, only the cloned? Be sure to use a really low attack on the compressor. You don't want the parallel compression buss to have any attack really, you want it to be all body. A limiter is often useful for this purpose, but a really low attck on a regular compressor is fine also. So the purpose is to allow the regular drums to provide the attack and dynamics, and for the p.

And there are a lot of ways to skin that cat as well. In send each set of mics snares, kicks, toms to their own busses and compress them there for the regular compression and add any reverb and other processing. I just have EQ on the original tracks. So I send to the p. Step 2: Instead, we set up an auxiliary send from all programmed tracks so they're grouped.

We set a Ratio of with a low threshold and fast attack and release times. Step 3: As you can hear in the previous clip, the auxiliary channel sounds pretty smashed by itself, but when we reintroduce it under the original beats, it provides lots more energy.

In this clip, you can hear 'before and after' treatments using this technique. MusicRadar The No.